In moments of uncertainty, we don’t necessarily search for answers; we look for spaces that allow us to gather, soften and remember who we are beneath the noise. With Yume, vocalist and songwriter Yukimi’s latest EP, she explores the quiet power of dreaming, not as escape, but as expansion. In Stockholm, her music met the table in a sensory dialogue, turning a performance into something shared, layered and deeply human.
After rising to prominence as the vocalist and percussionist of the Grammy-nominated band Little Dragon, she is stepping into a new chapter with Yume, Yukimi’s latest EP. The process though, has remained collaborative. Produced by Erik Bodin, who also worked on her debut solo album, the track ‘Get It Over’ was written with Saya Grey, while ‘All Over Me’ was co-written with artist and guitarist Mia Garcia.

“Every release of new music is a kind of chapter of my life. I go through different things, and so does the music. My songs will hopefully be relatable. I feel like a new person compared to the girl who wrote the early Little Dragon songs. I love and respect her, but I’m very happy to be a wiser version,” Yukimi says and adds:
“I sing about hopes, fantasies, wishes I have for the little biosphere around me, but also for the planet. I hope people can tap into the vulnerable sides of themselves, but also escape to a place with the help of the sounds. Yume has given me a chance to express my dreamy self. The music explores different sides of daydreaming, personal dreams and hopes for myself and the world. I think our world needs us to dream big so we can make it a beautiful place. So much madness is going on that it can easily become paralyzing.”
In times of turbulence, we don’t seek the rational. We look for shared meaning, a sense of belonging and stability. To transcend chaos, we’ve found ourselves gravitating toward experiences that bring us closer to the present and to each other. Throughout history, food and music have been two of humanity’s most powerful social technologies. They allow us to gather, to mark time and ritual, to transmit culture without words, to dissolve hierarchy and invite communion, to transcend the everyday. Neither requires elite access to be meaningful.

In collaboration with Asahi Super Dry 0,0%, Yukimi’s Asahi Sessions performance was no exception to history. Guests gathered not only for the music but for a dream-inspired menu, an ode to Yume, which translates to “dream” in Japanese, turning the evening into a sensory dialogue between sound and taste.
In many ways, the Yume-inspired menu created by chef Ricardo Molteni mirrored life’s chapters. Its textures and flavours moved from the soft innocence of childhood, captured in a bite-sized potato cake with burned leek mayo and juniperberry powder, to the savoury depth of growing older and wiser, expressed through truffle butter served on focaccia with fresh oyster mushrooms, toasted hazelnuts and fine dark chocolate flakes. For Ricardo, it was about balance: blending Japanese flavours while respecting the produce and committing to sustainable practices. Thus, nearly all ingredients were sourced in Sweden.

The hero of the menu, a pork katsu marinated in Asahi beer and miso, breaded and deep-fried, served on toasted sourdough with wild garlic emulsion, charred cabbage and tangy pickles, was, like Yukimi’s sound, soulful, airy and layered all at once.
“I love pairing music with food, and can recall a lot of moments in my life with the two present. I think it gives you more to sense and paint your experience with, sometimes giving a stronger feeling and memory,” Yukimi reflects.
Culinary experiences, like music, allow us to seize the moment while transporting us elsewhere. A form of transcendence not through escape, but through deepening the present, turning the ordinary act of eating or listening into something communal and emotional. Between bites of miso-marinated katsu and the first notes drifting from the microphone, that alchemy felt almost tangible.

For Yukimi, going beyond the conventional limits of art is not about spectacle but sensitivity, about understanding how we function as humans and gently stretching those boundaries. “It’s about using art as a tool for the bigger mass to, for example, feel love or feel pain that has been buried, calming the nervous system so that you can open your mind and think beyond.”
Perhaps that is where transcendence truly lives, not in abandoning the world, but in softening it. In allowing ourselves to gather, to taste, to listen, and to feel just enough to imagine something better. In turbulent times, that quiet expansion may be the most radical act of all.

Talent: Yukimi Nagano

Team Credits:

Photography by John Scarisbrick
Styling by Mili Malinovic
Hair by Francisca Saavedra
Make-up by Sóley Astudóttir
Words by Hannah Magnusson
DOP/short film by Atelier-riot

Fashion Credits:

1 & 9) White shirt by A.W.A.K.E MODE. Black shirt by Maison Margiela. Pants by Samantha Esfandiari. Skirt-shirt by Celine.
2 & 3) Dress by Stinarand. Stockings by Calzedonia. Shoes by Balenciaga.
4) Headpiece by Paco Rabanne. Asymmetrical top by Wilhja. Skirt by Comme Des Garçons. Baotou flats: stylist’s own.
5) Dress by Emma Carling.
6) Leather jacket by Anni Salonen. Skirt by Anna Danielsson. Leotard by Alaïa. Shoes by Sophie Tiné.
7) Dress by Jacob Ploski.
8) Striped blazer by KRIBA. Sheer bralette by Dries Van Noten. Gloves by Tuuli-Tytti Koivula. Skirt by Sacai.
10) Puffer kimono coat by Yakusha.

Flora was born in Dieppe in north-eastern France and grew up in the Ardennes region. She was surrounded by music early on, particularly the records her parents listened to while partying in the 1990s. She realized the importance of music during the first concert she played with her first synth-punk band in 2009 at a small bar in her hometown.

“My music is quite maximalist, with synthesizers omnipresent. Some say I’m very 80s,” she explains. “I felt that the intimacy of my melodies was shared by others, that my contained energy was finally finding a place to express itself without seeming crazy—or maybe I was, but it didn’t matter.”
Her music is deliberately ambiguous. Danceable melancholia sits alongside harsh lyrics or banal statements delivered in a dramatic tone, constantly playing with contrasts and dualities. Singing functions as a musical instrument in its own right, giving her work a unique texture and character.
Flora has described her universe as “Medieval Matrix,” a phrase that immediately sparks curiosity. “I love science fiction as much as fantasy, as much as imaginary and outdated things, as well as a strong faith in and fear of the future,” she says.

The latest album, Val Synth, was released in 2025 and blends electropop, indie pop, and alternative influences. Flora wanted to make an album that felt spontaneous, almost like freezing her demos and preserving their raw energy. “I often kept the vocals from the demos. I also wanted to offer purely instrumental tracks, because I’m not just a singer. It’s also a much more colourful and joyful album than the previous ones.”
Val Synth explores themes of identity, freedom, relationships, and inner life through a mix of introspective, playful, and sometimes surreal lyrics. Rather than telling linear stories, many of the songs focus on mood and emotion. “My songs are often an expression of what I can’t convey in my personal life. In my opinion, melody has its own emotion, sometimes much more eloquent than words. Like messages in a bottle, often for oneself,” she reflects.

This is Flora’s third album. Her debut, À ta merci, released in 2017, was a dramatic and theatrical blend of synthpop and rock. It was followed by Avec les yeux in 2022, which retained the electronic and synth-driven core while sounding more polished and melodic. Val Synth feels like a natural evolution, taking synth, pop, and dance to a new level.
“I think I don’t want to be pigeonholed into French pop as it’s traditionally understood. I want to go further in self-expression, explore new ways of writing, and collaborate with different musicians on each album, because others are talented,” she says.

It is easy to see Flora’s love for film and literature reflected in her work, as well as her ambition to blend the two forms together. She frequently references film composers such as Vangelis, John Carpenter, Elmer Bernstein, and Thomas Newman, alongside French authors like Cécile Coulon and Blandine Rinkel. In recent years, she has also added drag art to her creative palette, which she finds particularly inspiring.
“I don’t know if I like fashion; I don’t know anything about it. I do know that I love dressing up. Clothing is an opportunity to explore oneself, to embody a character, but also to connect with others, as a sign of rebellion or belonging,” she explains. Music and fashion cannot exist without each other, she adds. Even choosing not to engage is still a choice. Both music and fashion reflect the times we live in.

Transcendence remains central to her work. “For me, transcending oneself today is primarily about monitoring one’s own convoluted biases, our information bubbles, or even what we believe to be part of our identity. My music is constantly changing, ambiguous; it allows itself to be that way. We should all allow ourselves to do that, and even have a duty to do so,” Flora says.Her music reflects a constant in-between state, rooted in past decades yet untethered from any specific era. She speaks less about defining an aesthetic and more about maintaining movement, resisting fixation, questioning inherited narratives, and remaining attentive to the political undercurrents shaping everyday life. For her, music is not an escape from reality but a way of momentarily loosening its grip.

“And when it comes to the music,” she says, “I hope my audience can take a step back from their own melancholy. Dance to it.”

Talent: Flora Fischbach

Team Credits:

Photograhy by Nikolaz Le Coq
Styling by Jaouad Mehdid
Makeup by Alexandra Meric
Hair by Erika Kimura
Words by Mattias Kristiansson
Set Design by Marie Thiboumery
Fashion Assistant: Emma Moulay
Lighting Assistant: Gaspard Herledan

Fashion Credits:

1) Shirt and trousers by Mehdid. Necklace by Alt Paris.
2) Coat by Mehdid.
4 & 11) Jacket by Mehdid. Blouse by Sehnsucht. Trousers by Thierry Mugler. Shoes by Maison Margiela. Rings by Alt Paris.
5 & 7) Body and trousers by Chantal Thomass.
6) Dress by Maison Alaïa.
8) Jumpsuit by Claude Montana. Shoes by Dr Martens.
9 & 10) Blouse by Transe. Trousers and belt by Mehdid. Shoes by Maison Margiela. Bracelets and rings by Alt Paris.

Team Credits: 

Photography by Chris Calmer at Fern Photo
Styling by  Ossama Aoussar
Hair by Nicci Welsh
Make-up by Tekla Kristjánsdóttir
Model: Sara Tekle at Scoop Models

Fashion Credits:

1) Shirt by Maison Margiela, Pants by Baum Und Pferdgarten, Glasses by Vintage, Shoes by Maison Margiela, Gloves by Balenciaga
2) Jacket by Mod Cph, Pants by Mod Cph, Tie by Mod Cph, Shirt by Mod Cph, Shoes by G.H Bass
3) Hoodie by Sabrina Gazier, Coat by Jil Sander
4) Dress by Baum Und Pferdgarten, Shirt by Mod Cph, Tie by Cerutti, Shoes by Maison Margiela
5) Shirt by Maison Margiela, Tie by Cerruti, Pants by Baum Und Pferdgarten, Shoes by G.H Loafers, Jewellery by Felix Bresler
6) Shirt by Valentino, Pants by Valentino, Tie by Cerruti, Shoes by Maison Margiela, Jewellery by Felix Bresler
7) Shirt by Maison Margiela, Pants by Baum Und Pferdgarten, Glasses by Vintage, Shoes by Maison Margiela, Gloves by Balenciaga

Team Credits:
Photography by Leon Krueger
Styling by Lina Marie Baatz
Hair & Makeup by Nickolas de Oliviera
Model: Simone Seckellehner at Most Wanted Models

Fashion Credits:
1&2) Top by Studio Ley. Skirt by Odeeh. Shoes by Diesel. Bracelet by Saskia Diez.
3&4) Dress by Non Sen Se Upcycling. Earrings by Saskia Diez. Shoes by Wittner.
5,6&7) Dress by Odeeh. Earrings by Saskia Diez. Tights by Falke. Shoes, Vintage Maison Margiela.
8,9&13) Dress by By Xaver. Brosches by Odeeh. Gloves by Chanel. Earrings by Saskia Diez. Shoes by Gucci.
10&11) Coat by Odeeh. Dress by Helmut Lang. Tights by Falke. Earrings by Saskia Diez. Shoes by Melvin & Hamilton.

Team Credits:

Photography by CHRISTINE LUTZ
Styling by JULIA NEUBAUER
Hair & Makeup by CLAUDIA PLATH
MODEL: PRIYA at MINT ARTIST MANAGEMENT

Fashion Credits:
1) Bra: Stella Mc Cartney. Jacket: Fendi. Shorts: Adidas.
3) Top: Gestuz. Pants: Karo Kauer.
4& 16) Hat: stylists own. Dress: Karo Kauer. Shoes: Maison Margiela.
5& 13) Top: Alexander Wang. Pants & Shirt: Karo Kauer.
7, 11 & 15) Bra: Agent Provocateur. Tanktop: Helmut Lang. Skirt and Jacket: Baum und Pferdgarten. Socks and Shoes: Adidas
8) Jacket: Fendi. Shorts: Adidas. Socks and Shoes: Adidas.
9) Top: Acne Studios. Pants: Theory. Jacket: H&M.
10) Dress: Gestuz. Jacket: IRO. Shoes: khaite.
12) Pants: stylists own. Shirt: vintage. Jacket: Acne Studios. Shoes: Maison Margiela.
14) Jacket: Dolce & Gabbana. Top: Alexander Wang. Pants: Stella Mc Cartney for Adidas. Shoes: Adidas.
17) Jacket: Fendi.

Team Credits:
Art Director: Takumi Kurisaki
Creative Director & Stylist: Keiichiro Hara
Photographer: Reina Kubota
Hair & Makeup: Masataka Gonda
Model: Kota Akita at Model Agency Friday

Fashion Credits:
2) Jacket by KENSHO ABE. Long Corduroy Sleeve T-shirt by Paul Smith. Frill Turtleneck Knit by Bernhard Willhelm. Pants Vintage from Grange used. Shoes by Our Legacy.
3) Knitted Jacket by Joseph. Sweater by Banana Republic. Shirt by Soph. Arm Cover by Perverze.
Pants: vintage. Shoes by Maison Margiela.
4) Knitted Vest by Sh.ke.em. Coat by Prada. Shirt by 113 Maison. Flare Pants & shoes: Vintage from Grange used.
5, 6 & 7) Vest by Andvoid × LAY. Knitted Sweater by Dior. Pleats Skirt by Issey Miyake. Pants: Vintage from Enam Select. Shoes by Y3.
8) Cotton Shirt by Comme des Garçon. Inner by Yasuyuki Ishii. Turtleneck by Y Project. Paracode Velt by Andvoid. Shoes by Flligiacometti.

The world has been going through a transitional period, but for French ambient electro outfit The Blaze, consisting of cousin duo Guillaume and Jonathan Alric, it’s been business as usual. “Our lives remain the same,” they tell us. “We’re still doing the same thing, making music and videos, staying in our bubble as much as possible.”

The result of their work during the pandemic is now coming to fruition. 2023 marked the release of their second album, Jungle, featuring two singles – ‘Dreamer’ and ‘Eyes’ – which showcase slightly different sides of their musical identity. “These two singles represent different angles but come from the same creative process,” they say. “We choose our themes depending on what affects us, but we always evoke them in a very poetic way, never head-on.”

“In a way,” they continue, “‘Eyes’ talks about the lack of social connection people experienced because of the health crisis, while ‘Dreamer’ talks about migration and has much vaster emotions.” That’s how Jungle was developed; starting with emotion, they then made it more universal, always putting the human at the center.

They are reluctant to speak about any specific direction taken in the new album. “We’ve never set ourselves a goal to achieve,” they assert. “You could say that we’re always in transition, from one project to the next. The only motivation is to try to surprise ourselves, find new sounds, and get out of our comfort zone. There is no beginning or end. Just what we feel in the moment and trying to transcribe it artistically.”

The Blaze describes their creative process as intuitive. “You can spend hours exploring different styles and different sounds for no reason. Then at some point, the magic happens. It’s hard to explain, but the planets align, offering us something glaringly obvious. That’s when we know that we have a strong basic track. But we’ve never followed a particular path to get there, other than being patient and taking the time to try anything and everything.”

Behind the smooth surface of the music, their art is driven by social issues and, they stress, “something deeply human”. In addition to migration, which has already been mentioned above, they have also touched upon topics such as uprooting, grief, and social diversity. This is evident not only in their music videos but the feeling in their music and the way in which they approach their live shows. “We don’t put ourselves at the center of our work. Everything we do is turned towards the other. Like a humanist quest, devoid of any political stature.” In fact, something along those lines would probably be The Blaze’s manifesto.

The visual and sonic elements of The Blaze’s music go hand in hand. They describe it as “two idea bubbles which are constantly connected.” If you’re planning on catching The Blaze on their upcoming tour, you’re in for a treat. “The first thing we did for this album’s tour was to change the scenography,” they tell us. “That’s why we now have five independent screens on stage joined by suspension cables. We also wanted to make our live show more dance-oriented and deliver a much stronger energy. We came to this conclusion following our festival show experiences on our previous tour, and perhaps also the fact of having been cut off from the world for several months.”

The Blaze has previously named the video for ‘Pass This On’ by Swedish band The Knife as one of their favorites. In addition to Swedish culture, The Blaze also appreciates Swedish nature. “For the French, northern European countries like Sweden seem to us to be much bigger in terms of nature, with these huge lakes and forests as far as the eye can see. There’s the light too, not only are there the northern lights, but you have the longest golden hours in the world when you get closer to the solstices.” They mention that they are also fascinated by Swedish photography. “The film director Johan Renck’s work is amazing. His Chornobyl is an absolute masterpiece. The classic A Swedish Love Story by Roy Andersson is a must-see, too. And of course, you have your Swedish Roberto Benigni, the two-time winner of the Palme d’Or, Ruben Östlund.”

Guillaume and Jonathan are big cinéastes. “It’s always difficult to choose a particular film, but we often name The Tree of Life by Terrence Malik. Surely because he speaks in a very poetic, almost mystical way, about grief and the human condition. He also manipulates a very nostalgic emotion using flashbacks, placing one family’s story at the heart of the theme, whose points of view range from a baby being born to the Big Bang. From the use of the Steadicam to golden-hour lighting and the soundtrack, this film is full of elements and artistic choices that have inspired us a lot.”

Despite their fondness for photography and cinematic production, however, The Blaze are still struggling to get used to photo shoots. “To be honest, we’re not really into fashion that much,” they say. “We have a fairly simple style and have kept it the same for years. That said, we try to dress similarly on stage to be more visually coherent. So, when we arrive for a photo shoot – which isn’t something we do very often – the slightest detail seems so sophisticated, which was also the case with this shoot. We’re never very comfortable in front of a camera, but this time round, the photo shoot was very cool and there was a really good vibe with the team.”

The theme of this issue is ‘Transitive’, a term denoting a relation between a property and two elements. (As an example, in the sentence “The kids love rock’n’roll,” the verb love is transitive.) So, in artistic terms, it bears a resemblance to Impressionist painter Claude Monet’s stated intent: “The motif is something secondary; what I want to recreate is what lies between the motif and me.” Modern art is essentially transitive. The term ‘transitive’ also relates to transition – a step in the process before the end goal. In a sense, portraying an artist in an interview like this is an attempt to capture a transitive moment when a property (in this case the artist) is moving from element a (perhaps their past discography) to element b (their new album). This is certainly the case with The Blaze – always in transition, moving on to the next mystery.

Talents: The Blaze

Team Credits:
Photography by Matthieu Belbreuve
Styling by Victorie Seveno
Words by Jonathan Södergren
Photo assistant Kevin Ramon
Stylist assistant Pauline LeLong
Make-up & hair by Émilie Plume
Production by Amal Jefjef & Carole Congos & Agency

Fashion Credits:

1&2) Jonathan wears a leather shirt by Loewe and pants by Dickies. Guillaume wears jeans shirt by Loewe and jeans by Levis
3) Jonathan wears a Jacket and trousers by Arket. T-shirt by Dior Homme. Shoes by J. W. Weston.
Guillaume wears a jacket and T-shirt by Dior Men. Suit trousers by Cerruti 1881
4) Guillaume wears a suit jacket by Maison Margiela. Top and shoes by Dior Men. Trousers by Cerruti 1881. Jonathan wears a jumpsuit by Etudes Studio. Shoes by Asics
5) Guillaume wears jeans jacket and jeans by Kenzo. Shoes by Dior Men. Jonathan wears a T-shirt by Uniqlo. Jacket and trousers by J. Lindeberg. Shoes by J. W. Weston
6) Jonathan wears a leather shirt by Loewe and pants by Dickies. Guillaume wears jeans shirt by Loewe and jeans by Levis
7) Guillaume wears a shirt by Egon Lab. Jeans by Dickies. Jonathan wears a knit sweater by Paul Smith. Jeans By Levi’s
8) Guillaume wears a sweatshirt by Acne Studios. T-shirt by Dior Men. Jonathan wears a jacket by Acne Studios. T-shirt by Dior Men

Team Credits:
Photography by Sanna Lindberg / Agent Molly
Styling by Natalie Olenheim / Rockson

Fashion Credits:
1) Chair by Anton Sander / DE-NE2.
2) Dress by Christina Prieth. Top Vintage from Humana.
3) Caps made of plaster by Natalie Olenheim.
4) Black Form Wooden Sculpture by ELAKFORM.
5) Checkered Chair by Anton Sander.
6) Jackets by Paris RE Made.
7) Capes by Julia Elin Weström.
8) Magentle Lounge Table Wooden Sculpture by ELAKFORM.
9) Brutale Disco Wooden Sculpture by ELAKFORM.
10) Jackets by Paris RE Made.
11) Chair by Anton Sander / PA Chair.
12) Belt by Maison Margiela.

Team Credits:
Photography by Marion Parez
AD & Styling by Marion Tupler
Hair and Make-up by Eleonore Charles
Styling’s Assistant: Marguerite Marin
Production: Call My Sister
Model: Marion Massat

Fashion Credits:
Featured Image) Dress by Ayten. Earring and Necklace by Lauren Rubinski.
1) & 2) Dress and Shoes by Alaïa. Earrings by Delphine Charlotte Parmentierr.
3) Dress by Ganni. Jacket by Jarel Zhang. Shoes, Vintage.
4) & 14) Dress by Juana Martin. Jacket by ADN Paris. Boots by Coperni. Ear Cuff by Delphine Charlotte Parmentier. Earrings and Ring by Yvonne Léon.
5) & 6) Dress by Ayten. Earring and Necklace by Lauren Rubinski.
7) & 11) Top by Ulla Johnson. Skirt by Asquin.
8) Vest by Axel Arigato. Necklace by Delphine Charlotte Parmentier.
9) Top by Ulla Johnson. Earring by Maison Margiela.
10) Dress by Ganni. Jacket by Jarel Zhang. Shoes, Vintage.
12) Bag by Coperni.
13) Jumper by Pleats Please Issey Miyake. Skirt by ADN Paris. Ring and Ear Cuff by Delphine Charlotte Parmentier. Earrings by Yvonne Léon. Bag by Coperni. Shoes, Vintage.
15) Jacket by Maison Margiela. Belt by Vaincourt Paris. Necklace by Delphine Charlotte Parmentier.

Team Credits:
Styling, Art & Creative Direction by Alena Oklar
Photography by Nobuko Baba
Hair by Hiroko Matsuo
Make-up by Chiharu Wakabayashi
Models: Matilda Rea and Kamila at MiLK Management

Fashion Credits:
1) Blazer by Acne Studios. Bodysuit by Maison Margiela.
2) Bodysuit by Sanna Patrick. Leggings by Ewelina Szymanska. Heels by Ancuta Sarca. Blazer by Acne Studios.
3) Catsuit by Ewelina Szymanska.
4) Coat by Sanna Patrick. Heels by Ancuta Sarca.
5) & 10) Catsuit by Ewelina Szymanska. Skirt by Sanna Patrick. Heels by Ancuta Sarca.
6) Leggings by Ewelina Szymanska. Heels by Alexander McQueen. Bodysuit by Maison Margiela.
7) Top by Comme des Garçons. Skirt by MM6 Maison Margiela. Shorts by Sanna Patrick.
8) Top by Sanna Patrick.
9) Top by Comme des Garçons. Coat by Sanna Patrick. Bodysuit by Maison Margiela.
11) Shirt by Kata Haratym. Bodysuit by Maison Margiela. Top used as skirt by Sanna Patrick.
12) Scarf by Oklaro. Dress and Bodysuit by MM6 Maison Margiela.